Authenticity informs my intuitive approach and reinforces an underpinning respect for materials and work processes. Objects which touch the skin and are made to be handled and used often, should feel good and connect a person with the earth.
The studio produces useful pots to enhance any domestic experience. Without a set range, I work to my own plan or on a commission basis, developing new designs and revisiting old ones every time I sit down to decorate. The mixing and colour choices are different each time, directly reflecting that work session, that day, at that time and stem from a deep understanding of the pigments that allows freedom of expression after many years of learning. Composition, layout and colouring is a constant evolutionary process and however familiar the items might appear, each one is uniquely created.
The surface treatment on most of my functional work is a combination of brush decoration with a broad palette of slips, stains (and in some cases oxides) which are then sgraffitoed through to the body. Often additional markmaking happens inbetween firings to build depth, but it’s a spontaneous, fluid process and each piece is handled numerous times along the way. Occasionally I choose to work at different temperatures and use a simpler, earthier processes so I keep in touch with my skills.
Designs range from evocative soft florals on earthenware to loose markmaking on porcelain which is a direct return to my foundational training in Japan in the mingei style. Rustic handbuilt pieces are also made with the environment in mind. Works may be variously thrown and altered with or without modelled additions, or handbuilt organically as the form demands. Energetic and thoughtful layering at various stages of the process makes the resulting work fresh and alive. Labour intensive, yes, but immensely satisfying, for both myself and the user.
I come from a long line of gardeners, so constant inspiration is drawn from the flora and fauna in my immediate home environment as well as the beautiful natural landscape that is Bundjalung country. Proximity to the coast and Billinudgel Nature Reserve with its paperbark wetlands and unique inhabitants provides endless subject matter.
These robust, handbuilt birdbaths are complete one offs. They are either made to hang, or come freestanding with a pedestal base for ease of positioning.
Work is available directly from the studio by appointment, or from the Lennox Arts Collective gallery, the Grafton Regional Gallery or the Maitland Regional Gallery.
catherine lane 